The Bollywood film industry is often distinguished by its having produced films that have almost always been "musicals" since the 1930s. As Sangeeta Gopal and Sujata Moorti note, associating the American "musical" with Hindi popular films can be misleading because many Hindi popular films elude the generic category of musical melodrama evoked by the term "musical" in its contemporary usage in other contexts.
The typical Hindi popular film blockbuster through the early 2000s was characterized by its inclusion of spectacular "song sequences," musical numbers that featured characters singing and/or dancing. The songs featured have long been used to promote the films outside the cinema hall through commercial recordings and radio broadcasts, and today they also circulate via both audio and audiovisual formats including Internet streaming, digital downloads, television programming, and DVD and VCD compilations. Song sequences often featured inventive choreography, scenic locations, and extravagant costumes alongside compelling lyrics and memorable music that made them the highlight of most commercially successful films.
The production standards of song sequences, already one of the most expensive parts of a film's production, were further enhanced by the unprecedented financing enabled by india's economic liberalization policies during the 1990s. During this era the Bombay film industry transformed into the globalized industry now known as Bollywood and attracted new international audiences. (Just last month, Richard Corliss from TIME cited Sanjay Leela Bhansali's 2002 film Devdas, a film defined by its extravagant sets and costumes-- especially in its song sequences, as one of the "10 greatest films of the millenium.")
Several recent films, especially those associated with the wave of "indie" films, have however begun to feature songs in a manner more familiar to Hollywood conventions, namely, in the background. This move away from the song sequence is motivated at least partly by their expense and the fact that their inclusion lengthen films' duration in relation to shorter length media from Hollywood and television. In its twilight, the spectacular song sequence today most often appears in self-referential contexts such as parodies that emphasize its aesthetics of excess, homages that reiterate its history, and in the case of the following sequence "Main Agar Kahoon" from Farah Khan's 2007 film Om Shanti Om, scenes that simultaneously construct and deconstruct its nostalgic appeal as the rapidly disappearing foundation of Hindi popular films.
I'm interested in your point about "song sequences" and their difference from Musicals usually associated with films in the American context, especially the associative contrast you make between musical melodrama and spectacle.
As I was watching the clip, I was reminded of a kind of 50s Sirkian style of melodrama in its use of a dramatic, colorful mise-en-scene. In the clip the characters are aware and in on the artifice whereas the characters in a 1950s melodrama seem too internalized emotionally to notice. So much seems to be externalized in the clip. Even things that are already surface/natural, like conversation. (I was also reminded of the Shall We Dance? sequence from the King and I, which starts from conversation and builds to song). It seems almost like a sequence style song - style of singing that is continuous and mobile, reflecting the narrative form of sequencing by which it is contained.
I'm also reminded of early silent Melodrama narratives that were much longer and drawn out.
I guess, I'm wondering if the difference between song sequencing and contemporary musicals is related to the difference between melodrama and spectacle? Is the contemporary Bollywood musical becoming more melodramatic if it is becoming more like Hollywood? Is the form of popular song beyond musicals changing in India as well?
Musical Melodrama (cont.)
Given that most everything that would visually surprise or stun audiences in a song sequence has probably already been attempted at this point, most recent song sequences retrace what has been done in more or less innovative ways, or as I mentioned at the end of my discussion, do away with the traditional song-and-dance structure altogether. In a thoughtfully constructed film, the songs and their lyrics will still provide information and content that is crucial to enjoying and understanding the film-- whether that be character development, narrative progression, or emotional enhancement-- but it's no longer a given that actors on screen in Bollywood film will "suddenly break into song and dance" in the middle of the film.
Lastly, the music (and film) industry, long dominated by "filmi [song and dance sequence] songs," is rapidly expanding to accommodate more diversity in style and genre, so yes-- films songs and popular music are changing in both style and strcture.
NRIs and Diasporic Cinema?
Hello, Nilanjana -- enjoyed your post on Bollywood! I just finished teaching a section on Indian cinema(s) in my modern film history course, and it was, from what I can tell, the students' favorite lecture/screening. =)
I'm curious to know if another potential reason the industry is "mov[ing] away from the song sequence" is the growing NRI audience (which is becoming more and more familiar with Western films) and diasporic filmmakers who are noticeably (and perhaps necessarily?) excluding such numbers? Thanks!
Thanks for your insight on the matter, Nilanjana. Appreciate it! =)
Bollywood, the West, and Cultural Exchange
Nilanjana, I much enjoyed your post. I was surprised by your claim that Bollywood song numbers are waning and that the recent ones tend to be nostalgic. When I was working on Bollywood seven or eight years ago that didn’t seem to be the case. Your reasons for the shift are interesting. My sense is that Bollywood styles and genres seem to be splintering and recombining. Since I work on music video, I’ve had an interest in one subgenre that includes directors Mani Ratnam and Ram Gopal Varma, who’ve worked in a music-video-like intensified style (note clips from Yuva and Naach). I hope this strand continues.
Bollywood, the West, and Cultural Exchange (cont'd)
It would be wonderful if someone would write a historical study of the cultural exchanges around musical numbers between India and the West. Your "Main Agar Kahoon" sequence seems to echo the Fred Astaire and Ginger Rogers number "Let's Face the Music and Dance" as well as Moulin Rouge’s “Your Song.” The car and the green-screen is not only a film trope, but also, particularly, a music video one. (The joins between scenes, miniature figurines, and the play with the set remind me of Michael Jackson’s “Black or White”!). You might like to see the Snow Patrol link in my post. Elsewhere I’ve argued that Hindi and American music videos possess some features that may be less resistant to assimilation. For Hindi films these include 1) a particular feeling of bliss, which may derive from traditions in theater, painting, dance, music, and art 2) winding melodic lines and rhythms built on long cycles 3) a way of working with the sari, and women’s hair and gesture, that extends the visual line 4) a sense of commitment and high stakes between the lovers 5) the prevalence of lip-sync 6) sharp cuts between disparate locations, particularly between nature and more populated settings 7) an iconography which includes shots through two columns or an archway, overheads, and framing along the diagonal bias or dolling circularly past a phalanx of dancers moving in contrary motion. Your sequence seems to have most of these elements. Of course there has been much cross-cultural borrowing. I’ve always attributed Baz Luhrmann’s circular patterns in Moulin Rouge’s Diamond Dogs number to Devdas' Dola Re Dola. I've read Indian filmmakers got this from Busby Berkeley.
Add new comment